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In this, the first collection of essays to address the development of fairy tale film as a genre, Pauline Greenhill and Sidney Eve Matrix stress, \"the mirror of fairy-tale film reflects not so much what its audience members actually are but how they see themselves and their potential to develop (or, likewise, to regress).\" As Jack Zipes says further in the foreword, \"Folk and fairy tales pervade our lives constantly through television soap operas and commercials, in comic books and cartoons, in school plays and storytelling performances, in our superstitions and prayers for miracles, and in our dreams and daydreams. The artistic re-creations of fairy-tale plots and characters in film-the parodies, the aesthetic experimentation, and the mixing of genres to engender new insights into art and life-mirror possibilities of estranging ourselves from designated roles, along with the conventional patterns of the classical tales.\"Here, scholars from film, folklore, and cultural studies move discussion beyond the well-known Disney movies to the many other filmic adaptations of fairy tales and to the widespread use of fairy tale tropes, themes, and motifs in cinema.

The Enchanted Screen: The Unknown History of Fairy-Tale Films offers readers a long overdue, comprehensive look at the rich history of fairy tales and their influence on film, complete with the inclusion of an extensive filmography compiled by the author.　 With this book, Jack Zipes not only looks at the extensive, illustrious life of fairy tales and cinema, but he also reminds us that, decades before Walt Disney made his mark on the genre, fairy tales were central to the birth of cinema as a medium, as they offered cheap, copyright-free material that could easily engage audiences not only though their familiarity but also through their dazzling special effects. 　 Since the story of fairy tales on film stretches far beyond Disney, this book, therefore, discusses a broad range of films silent, English and non-English, animation, live-action, puppetry, woodcut, montage (Jim Henson), cartoon, and digital. Zipes, thus, gives his readers an in depth look into the special relationship between fairy tales and cinema, and guides us through this vast array of films by tracing the adaptations of major fairy tales like \"Little Red Riding Hood,\" \"Cinderella,\" \"Snow White,\" \"Peter Pan,\" and many more, from their earliest cinematic appearances to today. 　 Full of insight into some of our most beloved films and stories, and boldly illustrated with numerous film stills, The Enchanted Screen , is essential reading for film buffs and fans of the fairy tale alike. 　　 \"Jack Zipes takes us beyond Disney and DreamWorks to the many films that draw on fairy-tale sorcery for their cinematic power. With fierce analytic energy, encyclopedic inclusiveness, and imaginative verve, he enlivens an expansive history that reaches back to Georges Méliès's enchantments and ends with the complex grotesqueries of Pan's Labyrinth and Little Otik .\" Maria Tatar, Harvard University \" The Enchanted Screen is a labor of love and a major work of scholarship, encyclopedic in reach and rich in sustained and detailed thinking. The ‘unknown history’ of fairy-tale film is lucky to have found such a skilled and dedicated narrator.\" Stephen Benson, University of East Anglia Norwich \"Last year, Zipes (emer., Univ. of Minnesota) contributed a foreword for Fairy Tale Films: Visions of Ambiguity (CH, Mar'11, 48-3760), a delightful collection edited by Pauline Greenhill and Sidney Eve Matrix. This year, Zipes presents an extensive, well-organized study of fairy tales in the film genre. Zipes's knowledge of films from a wide variety of cultures is admirable. In the silent era, fairy tales provided filmmakers worthy material free of copyright expense. From the 1930s on, the film industry was able to put old wine into new bottles with both color and sound, a la Walt Disney and filmmakers in other parts of the world. Taking a fresh approach to major films, Zipes avoides the heavy use of jargon and instead offers clear, direct commentary on the films themselves and their oral and literary sources ... Zipes gives the reader 10 pages of endnotes, 12 pages of bibliography, 38 pages of filmography, and a thorough index--all in fine print. The influence of this book will extend for decades. Summing Up: Essential. All readers.\" CHOICE, June 2011 (R. Blackwood, City Colleges of Chicago) \"The true achievement of this book is its astute, perceptive, and thought-provoking discussion ... This intellectually stimulating book should be informative and enjoyable for a wide range of readers. At once a satisfying read and a valuable reference source, this is a solid and worthwhile scholarly effort.\" Mihaela Mihailova, Yale University ( The Historical Journal of Film, Radio and Television , 2011) \"The subtitle of the book is The Unknown History of Fairy-Tale Films ; what Zipes has done in this book, as he has done in all his work, is to make that history known.\" -Children's Literature Association Quarterly \"This colossal book offers a thorough and yet whimsical overview of the foundational role of fairy tales in filmmaking. Zipes, with his usual acerbic wit and inspiring expertise, takes readers on a journey through the historical facets of fairy-tale films, ranging from major studio productions to little-known art pieces. While the scope of Zipes' research and the acuity of his analysis alone are breathtaking, the passion with which Zipes writes about this subject impressed me deeply. The themes to which Zipes returns again and again in his interpretations - home, the uncanny, the family - provide powerful explanatory frames that help make his case that \"most fairy-tale films have deep roots in oral and literary tales and re-create them with great imaginative and artistic power\" (xi). Indeed, Zipes demonstrates this point and in so doing, provides the rest of us (fairy-tale scholars, film scholars, and scholars in adjacent disciplines) with an essential companion for research, teaching, and entertainment.\" Jeana Jorgensen, Journal of Folklore Research Preface Acknowledgments Prologue Part I 1. Filmic Adaptation and Appropriation of the Fairy Tale 2. De-Disneyfying Disney: Notes on the Development of the Fairy-Tale Film 3. Georges Méliès: Pioneer of the Fairy-Tale Film and the Art of the Ridiculous 4. Animated Fairy-tale Cartoons: Celebrating the Carnival Art of the Ridiculous 5. Animated Feature Fairy-Tale Films Part II 6. Cracking the Magic Mirror: Re-Presentations of Snow White 7. The Trials and Tribulations of Little Red Riding Hood Revisited and Reviewed 8. Bluebeard's Original Sin and the Rise of Serial Killing, Mass Murder, and Fascism 9. The Triumph of the Underdog: Cinderella’s Legacy 10. Abusing and Abandoning Children: \"Hansel and Gretel,\" \"Tom Thumb,\" \"The Pied Piper,\" \"Donkey-Skin,\" and \"The Juniper Tree\" 11. Choosing the Right Mate: Why Beasts and Frogs Make for Ideal Husbands 12. Andersen’s Cinematic Legacy: Trivialization and Innovation Part III 13. Adapting Fairy-Tale Novels 14. Between Slave Language and Utopian Optimism: Neglected Fairy-Tale Films of Central and Eastern Europe 15. Fairy-Tale Films in Dark Times: Breaking Molds, Seeing the World Anew Bibliography Filmography 　 Jack Zipes is Professor Emeritus of German and Comparative Literature at the University of Minnesota. An acclaimed translator and scholar of children's literature and culture, his most recent books include Relentless Progress: The Reconfiguration of Children's Literature, Fairy Tales, and Storytelling; The Collected Sicilian Folk and Fairy Tales of Giuseppe Pitré; Why Fairy Tales Stick; Hans Christian Andersen: The Misunderstood Storyteller, Beautiful Angiola; and The Robber with the Witch's Head , all published by Routledge.

Contemporary Fairy-Tale Magic studies the impact of fairy tales on contemporary cultures from an interdisciplinary perspective, with special emphasis on how literature and film are retelling classic fairy tales for modern audiences.

There is nothing wrong if a woman wants to look good and spends money and time on it. But when her social assessment based on her ideal looks, perfect make-up or high fashion clothes impairs her self?worth, her physical and mental well-being gets damaged beyond repair. Indubitably, the patriarchy tricks women into thinking about importance of beauty and thinness as criteria of her feminine identity. The agony is aggravated for the women of color who are usually looked down upon when compared to their fair-skinned counterparts. Innumerable critical studies of children’s literature have given the grim statistics which clearly indicate that children of colour especially females who have to fare well in the ideal beauty test are slighted and if not so they are under-represented or misrepresented in literature especially in the most cherished treasure of the children’s literature, i.e. fairy tales. The modern retellings and movie adaptations of the classical fairy tales are entrusted with the task to flood the literary canon with revised versions of classical stories that feature children of colour in positive and favourable light. It is only such progressive re-renderings that can make women of all ages experience the fact that beauty comes from deep within as well as help white children and parents to develop tolerance and respect for children of colour. The present paper is an attempt to find out whether the movie adaptations and modern retellings of the classical fairy tale selected for the study namely, Brothers Grimm’s “Little Snow White” are successful enough to contribute positively to this particular facet

The tale of “Aladdin and the Wonderful Lamp” is internationally the most popular fairy tale of Middle Eastern origin. Dominated today by the overwhelming impact of the Disney animated feature film (1992) and its theatrical adaptations, the tale’s appropriation by the Western audience dates back some three centuries. In Western consumer culture, the complex tale has boiled down to the promise of magic solutions to all kinds of daily challenges, epitomized in the icon of the wish-fulfilling lamp. The present contribution studies this feature through a detailed assessment of Aladdin’s (or his lamp’s) appearance on the internet.

Greedy, materialistic, exploitative; these are the common adjectives used in and exemplified by western cultural works to describe Tolkien's Dwarves. In particular, scholars use these adjectives in their criticisms of Tolkien's Dwarves in their works, founding their accusations in primary texts including Gandalf's famous quote on the Dwarves of Moria and the accounts of Dwarves in The Silmarillion, among other works. Furthermore, some adaptations, particularly in film, have reinforced these negative stereotypes relegating Dwarves to the role of comic relief. However, more recent film adaptations, fan fictions, and even music directly contradict these stereotypes, challenging the long-held opinion of many. Darvell notes that \"it is easy to bring preconceived notions of what the dwarf is from other myths, fairy tales, novels, games, and even films\". Many suggest that the typical western perspective on Tolkien's Dwarves, which marginalizes them as greedy, gold-crazed, and exploitative, stems from an uncritical, prejudiced perspective informed more from sources outside the text than a close reading of the text itself. If they treat Tolkien's works as historical texts recounting the history of Arda, they can interpret these harsher perspectives as a form of historical bias.

Gothic and sexual elements are embedded within both Charles Perrault’s and the Brothers Grimm’s tellings of “Little Red Riding Hood”. When popular culture turned to fairy tales from the late 20th century forward, reimagining them as gothic tales for adults, “Little Red Riding Hood” provided a particularly rich setting. In particular, these adaptations exploited the false binaries within these tales while making more visible the sexual abuse and recovery encoded in the narratives. This essay will first explore the particular gothic qualities within this tale, as well as the shapeshifting nature of the four characters. After establishing how the figure of Red, as well as her motifs, are key to ensemble fairy-tale narratives, I will examine adaptations that directly explore the sexuality and agency of a young woman, as she resists both predators and her family legacy. However, the last section will note that monstrosity, like victimization, can be resisted. Overall, this essay interrogates contemporary film and television adaptations of this tale, with a particular interest in the messages of recovery and agency in these new versions.

This paper attempts to make a critical analysis of the transitional changes in the portrayal of gender roles reflected in the film adaptations of one of the most popular fairy tales, \"Cinderella\" (based on the original classic by Charles Perrault), beginning from the Disney adaptations of 1922, 1950, and 2015 to the 2021 musical film directed by Kay Cannon. The emphasis is on the fact that both the story and its adaptations are highly popular among the children, and so the contents can have considerable influence on the growth and development of their attitude towards society in general. The changes are studied based on the social cognitive theory of gender development proposed by Albert Bandura, and a thorough investigation is made into how these vicissitudes prepare them to go along with the present era. As a result, the researcher establishes that the different adaptations portray the role of women in society differently. Additionally, the stereotypes in the marvelously woven stories are broken in order to cater to the minds of modern spectators.

Indubitably, the classical fairy tales of Brothers Grimm, Madame Beaumont, Perrault and Anderson reflect an intense competition among girls in which there can be only one winner because there is only one prize. And that prize is the prince charming who is the most affluent and handsome man in their eyes. The winner is always the most beautiful girl who is definitely the heroine. The present paper endeavours to analyse the narratives of Disney’s movie adaptations of the classical tales vis-à-vis the question whether they have succeeded in curbing the craze for the Prince Charming or not.